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A Study of Ukiyo-E's Place in the Development PROGENITOR OR MERE PREDECESSOR: A STUDY OF UKIYO-E’S PLACE IN THE DEVELOPMENT OF MODERN MANGA THROUGH THE WORKS OF RUMIKO TAKAHASHI A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of The requirements for the degree MASTER OF ARTS by Julia Fields Jackson B.A., Pomona College, 2006 Kansas City, Missouri 2014 © 2014 JULIA FIELDS JACKSON ALL RIGHTS RESERVED PROGENITOR OR MERE PREDECESSOR: A STUDY OF UKIYO-E’S PLACE IN THE DEVELOPMENT OF MODERN MANGA THROUGH THE WORKS OF RUMIKO TAKAHASHI Julia Fields Jackson, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2014 ABSTRACT In their effors to understand the history of manga , or Japanese comics, scholars have struggled determining the timeline of this art form. While some historians begin their narrative as far back as the twelfth century with examples of art that might be classified as “pre-manga ,” some academics choose to cite the start point manga ’s timeline in the nineteenth century with the first usage of the term “ manga .” Others researchers are even more conservative, beginning their scope of manga ’s history with the techniques developed during the mid-twentieth century which yield artwork recognizable to today’s aesthetics. The study of manga is still in an embryonic state, and the scope of this genre of art is vast; these two factors create a challenge in establishing a timeline for manga ’s history. Although it would be convenient to consider the history of Japanese illustrative art as a timeline that leads directly to modern manga , the myriad of genres and styles complicate the researcher’s ability to make claims about the pertinence of any specific point on that timeline to the development of manga as it is known today. The most poignant example of this is ukiyo-e, or nineteenth-century Japanese woodblock print art. Speaking of manga as a whole, it is impossible to reconcile the exact role of ukiyo-e as a parent (or if not father, iii perhaps an uncle of sorts) to today’s manga . At present, the state of the scholarly literature on this remains noncommittal, refusing to admit fully or deny completely whether or not manga owes its history to the woodblock print art of nineteenth-century Edo. The objective of this research is to open the discussion about the roles the ukiyo-e played in the development of modern manga . This may be achieved through the study of the works of one mangaka , or artist-author of manga , Rumiko Takahashi (1957–). Through studying Takahashi’s work, one may recognize the ways in which ukiyo-e was essential to manga ’s development. There are elements of Takahashi’s work that could not exist if it were not for the influence and developments that source from nineteenth-century woodblock prints. Through the microscope of the work of one prolific and popular mangaka , it is possible to initiate a discussion of ukiyo-e’s participation in manga ’s timeline. And perhaps art historians may broaden the acceptance of these concepts to apply to manga as a whole. iv APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Science, have examined a thesis titled “Progenitor or Mere Predecessor: A Study of Ukiyo-e’s Place in the Development of Modern Manga Through the Works of Rumiko Takahashi” presented by candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance. Supervisory Committee Frances Connelly, Ph.D., Committee Chair Department of Art and Art History Rochelle Ziskin, Ph.D. Department of Art and Art History Burton Dunbar, Ph.D. Department of Art and Art History v CONTENTS ABSTRACT............................................................................................................................ iii LIST OF IMAGES ............................................................................................................... viii ACKNOWLEDGMENTS ....................................................................................................... x Chapter 1. INTRODUCTION........................................................................................................ 1 State of Fields of Study; Literary Review..................................................................... 3 Contribution to Field................................................................................................... 12 2. MANGA AND UKIYO-E DISCUSSED..................................................................... 14 Takahashi’s Works...................................................................................................... 14 Tracing Contemporary Creations to Earlier Art......................................................... 14 Takahashi’s Career and Education................................................................. 15 Comparison of Images................................................................................................ 17 3. UKIYO-E’S PLACE IN MANGA ’S DEVELOPMENT............................................. 27 Features of Ukiyo-e that Carry Over to Manga .......................................................... 29 Flat Nature of Japanese Art in Ukiyo-e and in Manga and Anime .................. 29 Subject Matter of Manga from Ukiyo-e.......................................................... 32 Interest in the Contemporary World............................................................... 37 Techniques and Approaches that Stem from Earlier Work........................................ 39 4. UKIYO-E’S RELATIONSHIP TO MODERN MANGA ............................................ 46 5. CONCLUSION........................................................................................................... 56 A Timeline Moving Toward Manga ........................................................................... 56 A Similar Cultural Role.............................................................................................. 58 vi Progenitor of Merely Predecessor............................................................................... 61 IMAGES................................................................................................................................. 63 GLOSSARY OF TERMS ...................................................................................................... 82 SECONDARY SOURCE BIBLIOGRAPHY........................................................................ 87 PRIMARY SOURCE BIBLIOGRAPHY ............................................................................ 94 VITA .................................................................................................................................... 105 vii LIST OF IMAGES Image Page 1. Tezuka Stamps................................................................................................................... 70 2. Ch ōjū-jinbutsu-giga (鳥獣人物戯画)............................................................................... 70 3. Detail from The Great Woven Cap .................................................................................... 71 4. Hokusai Manga.................................................................................................................. 71 5. Katte na Yatsura (勝手なやつら)..................................................................................... 72 6. Painted Ogres, Inu-Yasha ................................................................................................... 72 7. Inhabitants of the Barbarian Lands, Hokusai Manga ........................................................ 73 8. Kagome Pursued by Centipede Demon, Inu-Yasha ........................................................... 73 9. The three-eyed monster, the monk-musician, and two women with extenisible necks, Hokusai Manga ....................................................................................................................... 74 10. Crow Demon, Inu-Yasha ................................................................................................ 74 11. Demons (Yurei, Yamauba, Tengu and Hini), Hokusai Manga ....................................... 75 12. Hyaku Monogatari (百物語)........................................................................................... 75 13. Monstrous Soun Tendo, Ranma ½ .................................................................................. 76 14. Ningyo no mori (人魚の森)............................................................................................. 76 15. 300 Episode Poster, Ranma ½ ......................................................................................... 77 16. The Great Wave off Kanegawa from Thirty Six Views of Mount Fuji ............................. 77 17. Ranma ½ extra-large poster............................................................................................. 78 18. Happosai at the Beach, Ranma ½ .................................................................................... 78 19. Fashionable Octopus Games............................................................................................ 79 20. Koga and the skeleton ghost of Kyokotsu, Inu-Yasha ..................................................... 80 21. Mitsukuni defies the skeleton specter conjured up by Princess Takiyasha..................... 80 viii 22. Priest Raigo of Mii Temple.............................................................................................. 81 23. Zushi-Nezumi, Inu-Yasha ...............................................................................................
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